The Great Trombone Concert: A Celebration of the Pacific Legacy of Stuart Dempster
Date Wed 31 July at 8.00pm
Please note that this music will be performed throughout the entire space of the Turbine Hall, on the central platform, on balconies and stairwells, and it will move in procession.
The audience should be in position by 7.50pm.
This concert is being recorded for delayed broadcast on New Music Australia at 8pm on Wednesday 7th August 2002, on ABC Classic FM. That broadcast and our concert will be hosted by JULIAN DAY.
Stuart Dempster, solo trombone, hosepipe and didgeridoo player
The Conservatorium Trombone Quartet :
The Conservatorium Trombone Choir
Children from the Aboriginal and Islander Independent Community School, Acacia Ridge.
Stuart DEMPSTER [born 1936, Berkeley, CA], First performance.
This is an expansion of prototype work begun here in Brisbane in 1999 during the first Queensland Biennial Festival of Music, directed by my good friend Simone de Haan. Even the title is an expansion of the then more sedate Trombonists Tooting Tuneful Tonics.
This process is a variant of Aix en Provence, composed in 1983 while an Artist-in-Residence at Centre Acantes in the south of France. The first performance was for four trombonists surrounding the audience with me as solo trombonist in the centre.
The variation for this performance will have our trombonists surrounding the audience, and will feature many things from gentle chorales to big band jazz riffs. The audience may sing or hum drone pitches while the solo trombonist spins around and directs the surrounding ensemble to follow pre-arranged cues.
Other variations have included a trombone ensemble made of my students, past and then-present, from the University of Washington in the infamous Cistern Chapel at Fort Worden State Park in Port Townsend north of Seattle, which we recorded and which was released on a New Albion CD [NA 076].
Vincent PLUSH [born 1950, Adelaide, SA]
Like my French horn piece Bakery Hill Rising , this work is scored for a solo instrument within a family of its own, and returns us to a well-known chapter of Australian history: the ill-fated landing of ANZAC troops at Gallipoli Cove in Turkey on 25th April 1915, observed today as a national holiday commemorating disaster, defeat and humiliation and the advent of national identity.
With such national sentiment accorded to this event, two well known Australian folksongs, Waltzing Matilda and The Road to Gundagai, are rarely absent from view.
With funds from the Music Board of the Australia Council, the piece was commissioned by my old friend, Simone de Haan, its dedicatee. Composed in Brisbane in mid-1984, while I was teaching for a term at the Queensland Conservatorium, it was premiered by Simone at an ISCM concert at the Sydney Opera House on 14th October 1984.
Stuart DEMPSTER [born 1936, Berkeley, CA] First performance.
This is a variant of Timepiece  that was inspired by a Deep Listening Retreat on Rose Mountain - near Las Vegas, New Mexico - with Pauline Oliveros, Ione, and Heloise Gold.
One evening Ione led a dream journey, inviting me to play appropriate music. She passed out various messages on cards. In a paragraph on mine was a phrase imploring me to become time. From that, Timepiece was developed and, by extension, Dream Timepiece, which is performed on multiple didgeridoos. Inspired by this MiniMax festival, it is dedicated to Vincent Plush and William Barton.
The audience is invited to ..
Raffaele MARCELLINO [born 1964, Sydney, NSW] For Trombone Choir. First performance.
This is an ongoing project for multiple trombones combining, in the first manifestation, notated and improvised music. As with much of my other work Clarion Call is resonant with the past and the present. It is music that is multi-temporal, spatial and kaleidoscopic.
It moves from the Walls of Jericho to the commedia dell'arte via the Beethovenian eguale past Russolos Futurism to circumnavigate the constellations of concentric bones.
Clarion Call was commissioned by Simone de Haan for the Queensland Conservatorium Trombone Choir. It is dedicated to Simone whom I am have known and admired since our first encounter at the National Playwrights Conference in Canberra in 1987, when I was presenting a music-theatre work of mine and he was performing as artist-in-residence. We were drawn together by our mutual interest in extended performance techniques and styles and also aspects of theatre in musical presentation.
Keith HUMBLE. [born Geelong, Vic.,1927, died Geelong, 23rd May 1995] For solo trombone & pre-recorded sounds.
This work was written in Queenscliff, the composers home in Geelong, overlooking the southern ocean. Typically, it exists in several forms; a version for tape alone can have solos or ensembles of trombone, piano and keyboard percussion added ad libitum. There is also a fully notated version for piano, trombone and percussion  which the composer prepared for concerts in San Diego with fellow performers of KIVA, the trombonist John Silber and percussionist Jean-Charles Francois.
This was the ensemble based within the Center for Music Experiment at the University of California, San Diego. From 1982-1986, Humble divided his time between Melbourne and UCSD, where he was Visiting Professor for successive years.
At the same time as he was continuing what was for him a vital creative lifeline across the Pacific to southern California, Humble was also performing with the continuing membership of the Australia Contemporary Music Ensemble [ACME], based at LaTrobe University, where he was Foundation Professor of Music. Within the small band of ACME members was the trombonist Simone de Haan whose creative involvement in this work was critical.
The Dada-esque title, reflecting Humbles Parisian activities in the 1950s, incorporates elements of his time at UCSD; Cal becomes Kal, Ida was the name of a department secretary there and Cope the name of a music professor at UC Santa Cruz.
Stuart DEMPSTER. For solo whirling didgeridoo player.
Originally composed in 1971-72 as part of Ten Grand Hosery, for ten grand pianos, garden hoses and dancer, this uses the American indigenous didgeridoo the plastic drainpipe. The essence of Didjeridervish is didgeridoo technique while spinning like a Turkish dervish.
Stuart DEMPSTER. First performance. For two whirling didgeridoo players.
All the above applies, with the addition of a variant - the introduction of a second player. Double the spinning, double the sound.
Robert DAVIDSON. For trombone quartet.
Tibrogargan takes its title from one of the Glasshouse Mountains on the Sunshine Coast, an hour north of Brisbane. This particular formation is shaped like an ape. A canon for three tenor trombones accompanied by bass trombone, the work gradually wakes up while exploring the inner working potential of a handful of pitches. The two trombone methods of producing pitch-differences - lips and slides - are investigated separately. Robert Davidson
Stuart DEMPSTER. Go back to the start, think/play in reverse mode.
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